Amy Winehouse: The Lioness’ Final Roar
The first time I heard Amy Winehouse was early 2007, the height of Britney Spears’ bizarre nervous breakdown; someone had passed along a homemade YouTube video of the bald, umbrella-wielding pop star set to “Rehab.” If you had asked me then which singer would be dead in four years, the sharp, sarcastic voice echoing through my computer speakers or the superstar losing it all—her mind, her career, custody of her children—before our very eyes, I wouldn’t have hesitated for a second before answering. And I would have been wrong.
Of course, by the time Winehouse drank herself to death on July 23, no one could really say they were surprised. As she sank deeper and deeper into her addiction, her talent was overshadowed by her reputation, and she never did get it together long enough to put out a follow-up to Back to Black. Perhaps that’s why when Lioness: Hidden Treasures—an odds-and-ends collection compiled by longtime producers Salaam Remi and Mark Ronson—was released earlier this month, fans leapt at the opportunity to hear new tracks by the late singer. The record debuted at the top of the UK charts, moving 194,000 copies in its first week and giving Winehouse the fastest sales of her career.
But let’s be clear: Lioness: Hidden Treasures is not a new record. It’s mostly covers and outtakes, with only two tracks (“Between The Cheats” and “Like Smoke”) that were intended for that third Amy Winehouse album the world will never get—and the fact that both songs were recorded back in 2008 clues us in on how long she’d been working on the far-from-finished project.
Still, it’s worth shelling out a few bucks for Lioness (proceeds from the album benefit The Amy Winehouse Foundation, the charity set up by her family to “provide help, support or care for young people, especially those who are in need by reason of ill health, disability, ?nancial disadvantage or addiction”) if only to pause and reflect on Winehouse’s career. It’s not always pleasant to listen to—in fact, at some points it’s downright sad—but if we ignore Lioness’ tracklist and listen instead in chronological order, we can trace the British soulstress’ rise from obscurity to beehived diva and her subsequent tragic fall.
Her cover of Ruby & the Romantics’ 1963 hit “Our Day Will Come”—recorded with Remi in 2002 when she was just 18—is one of the album’s strongest cuts. Her vocals are sweet but never saccharine, and as they ease over a reggae groove, we’re reminded of the young singer’s undeniable talent. “Our Day Will Come” is Frank-era Winehouse at her finest; before the big hair, before her doomed union with “Blake incarcerated,” before she nearly singlehandedly brought a neo-soul revolution to the mainstream, she was just a Jewish girl from Southgate who sang with the National Youth Jazz Orchestra and snagged a record deal.
“Our Day Will Come”—along with “Half Time” and “Best Friends, Right?,” recorded in 2002 and 2003, respectively—showcases that early Winehouse spark that earned her that deal with Island/Universal. Remi, who produced those old tracks, seems to take solace in knowing Lioness may take a little bit of focus away from the singer’s struggles with addiction.
“[Her family] didn’t know if they could listen to it,” he told the NME in November. “But as the songs were playing, they just started smiling. Like, ‘She wrote this? When did she do this? What happened?’ I felt they spent so much time chasing her around, they didn’t realize how gifted and talented Amy was. Not just when she passed at 27, but when I met her at 18. It made everyone who knew her feel so much better about her passing and her life as well.”
However, the tracks recorded in and around the time of her magnum opus Back to Black are, perhaps unsurprisingly, the real meat of Lioness: Hidden Treasures. At this point in her career, Winehouse had done a little more living—too much, too soon in fact—and it echoed in her music. Like so many before her, she was able to transform heartbreak, substance abuse and depression into great art, and on her breakthrough album, she did so with a self-deprecating wink.